Joakim Ziegler
Forum Replies Created
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Totally agree. Resume also counts for a lot. It used to be that everyone but the most well-known colorists were not known at all, you went to a post house because of the equipment, but not because of a specific colorist. I expect individual colorists to have much more currency in the future, name recognition and all. Which is not a bad thing at all, it just means budding colorists have to be prepared to work their way up.
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Joakim Ziegler – Postproduction Supervisor -
Yeah, we already have a test system running, it’s pretty great, and with Resolve 8, it’s going to be even better. We’re doing a 4-GPU system.
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Joakim Ziegler – Postproduction Supervisor -
I think the development towards “cheap” color grading systems is going to have something of the opposite effect. When BlackMagic released Resolve for cheap last year, we immediately saw FilmLight dropping the prices on their BaseLight systems. Assimilate just announced radically lower pricing on Scratch at NAB (they didn’t use to publicize their prices, but a quote I got from them once was well in excess of 70k dollars just for the software, and now it’s 18k dollars). Scratch is now also going to be available for MacOS.
All this is driven by BlackMagic and Resolve.
And please, spare me the “out here in the real world” thing. It’s a bit insulting, first because I make a living as a post supervisor on feature films, and secondly because it seems to me to be the same whining that always happens when the tools get cheaper. We saw it from companies with Avid suites when FCP came along, for instance, and we’ve seen it to a large extent in DAWs too.
This development is inevitable, as the hardware gets cheaper and more powerful, the technology and workflows more established and well-known, and the “magic” disappears.
The question isn’t “are color grading systems in the future going to be cheap and widely available”, that’s a given. The question is, what are you going to do when it happens? Whining about your customers not valuing you highly enough is hardly the right answer.
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Joakim Ziegler – Postproduction Supervisor -
Honestly, a lot of this seems like insecurity. Evolve your skills, evolve your capabilities. If you’re relying on your tools being expensive and not available to most people, you’ve already stagnated and lost. As the saying goes, the end of pyramid building put a lot of pyramid builders out of business.
The best will rise to the top, this isn’t about expensive equipment, this is about talent and customer service. The nice thing is that we’re going to get many more potential colorist talents that will be able to develop on the free version.
Lots of equipment is still too expensive for what it does, and I’m grateful to BMD for democratizing the tools. I hope they add mouse-operated color wheels to future versions of Resolve too, to make it even more flexible.
You realize that you’re all complaining about getting too much too cheap, right? There’s no pleasing some people.
And I say this as someone who’s in the middle of the process of getting a large Resolve Linux system. Bring it on.
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Joakim Ziegler – Postproduction Supervisor -
My standard number for a fiction feature film is 100 hours of pure grading (no including conform, confcheck, title insertion, etc.). Minimum for a fiction feature is about 40-50 hours if you just want something simple (balancing and matching, small adjustments).
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Joakim Ziegler – Postproduction Supervisor -
Hubble probe, CineProfiler for profiling. CineSpace Visual for LUT generation. The film profile was made by Cine-Tal. Currently applying the LUT in a Davio, although generating the same LUT for Resolve and applying it there yields practically identical results.
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– Joakim Ziegler -
I’d recommend the DreamColor, if you can get it properly calibrated.
Yes, P3 Gamma is trivial, gamut not so much, but the DC has a far larger gamut than most monitors.
We made LUTs for our DC in full gamut mode using CineProfiler/CineSpace and a Hubbell probe, and that works excellently (also for emulating film output).
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Joakim Ziegler – Postproduction Supervisor -
I would also really like to know how to copy-paste nodes.
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Joakim Ziegler – Postproduction Supervisor